document_title: List of research stations in the Arctic

question_text: what is the name of artic research station in 2008

text: List of research stations in the Arctic

text: Research stations[edit]

text:
Abisko Scientific Research Station, Abisko, Sweden
Alomar Observatory, Andøya, Norway
Arctic Yellow River Station (China), Svalbard, Norway
Barrow Observatory, Point Barrow, Alaska[2]
Brønlundhus, Greenland
Canadian High Arctic Research Station (CHARS), Cambridge Bay, Nunavut, Canada,[3]
Daneborg, Greenland
Danmarkshavn, Greenland
Dirigibile Italia Arctic Station, Svalbard, Norway
Dr. Neil Trivett Global Atmosphere Watch Observatory, Alert, Nunavut, Canada
Dye 3, Greenland
Flashline Mars Arctic Research Station, Devon Island, Canada
Golomyanniy Station, Sredniy Island,[4] Sedov Archipelago, off Severnaya Zemlya, Russia[5]
Heiberg Polar Station (1940 - 1995), Heiberg Islands, Russia[6]
Himadri Station (India), Svalbard, Norway[7]
Igloolik Research Centre, Igloolik, Igloolik Island, Nunavut, Canada[8]
International Biological Station Lena-Nordenskiöld, Tiksi, Sakha Republic, Russia
Iqaluit Research Centre, Iqaluit, Baffin Island, Nunavut, Canada[9]
Izluchin Polar Station (abandoned), Komsomolets Island, Severnaya Zemlya, Russia
Kevo Research Station, Kevo, Finland[10]
Kilpisjärvi Biological Station, Kilpisjärvi, Finland[11]
Kiruna Observatory, Kiruna, Sweden
Kluane Lake Research Station, Kluane Lake, Canada[12]
Kolyuchin Polar Station (abandoned), Kolyuchin Island, Russia
Labytnangi Ecological Research Station, Labytnangi, Russia
Lavrentiya Research Station, Lavrentiya, Russia
McGill Arctic Research Station, Canada[13]
Mestersvig, Greenland
NEEM Camp, Greenland
Nicolaus Copernicus University Polar Station (Poland), Svalbard, Norway
Nord, Greenland
North Ice, Greenland
Northeast Science Station (Russia), Sakha, Russia[14]
Ny-Ålesund, Svalbard, Norway
Peschanny Polar Station (abandoned), Cape Unslicht, Bolshevik Island, Severnaya Zemlya, Russia
Polar Environment Atmospheric Research Laboratory (PEARL), Eureka, Ellesmere Island, Nunavut, Canada[15]
Polish Polar Station, Hornsund, Svalbard, Norway
Popov Polar Station, Bely Island, Russia
Prima Polar Station, Cape Baranov, Bolshevik Island, Severnaya Zemlya, Russia[16]
Provideniya Research Station, Provideniya, Russia
Resolute Nunavut Station, Resolute, Cornwallis Island, Nunavut, Canada[17]
Russky Island Arctic Station (1935 - 1999), Russky Island, Nordenskiöld Archipelago, Russia[18]
Samoylov Station, Lena Delta Reserve, Russia
Sermilik Station, Greenland
Sodankylä Arctic Research Centre, Sodankylä, Finland[19]
Solnechny Polar Station (founded in 1952, now abandoned), Solnechny Bay, Bolshevik Island, Severnaya Zemlya, Russia[20]
Stanisław Baranowski Spitsbergen Polar Station (Poland), Svalbard, Norway
Summit Camp (USA), Greenland
Thule Research Station, Pituffik, Greenland[21]
Toolik Field Station, Toolik Lake, Alaska[22]
Troynoy Island Polar Station, Izvestiy TSIK Islands, Russia[23]
Tuktoyaktuk Station, Mackenzie River delta, Canada[24]
Tundra Ecosystem Research Station (TERS), Daring Lake, Canada[25]
Tyrtov Island Polar Station (1940 - 1975), Tyrtov Island, Nordenskiöld Archipelago, Russia
Uedineniya Polar Station (abandoned in 1996), Uedineniya, Russia
University of Copenhagen Arctic Station, Greenland
Vavilov Meteorological Station (1974 - 1988), October Revolution Island, Severnaya Zemlys, Russia[26]
Vize Island Arctic Research Station, Vize Island, Russia
Ward Hunt Island Observatory Research Station, Ward Hunt Island, Ellesmere Island, Nunavut, Canada[27]
Western Arctic Research Centre, Inuvik, Canada[28]
Whapmagoostui-Kuujjuarapik Research Complex, Whapmagoostui, Quebec, Canada[29]
White Sea Biological Station (WSBS MSU), Chupa, Republic of Karelia, Russia[30]
Willem Barents Biological Station, Meduza Bay, Russia
Wrangel Island Research Station, Wrangel Island, Russia[31]
Yenisei Ecological Station, Mirnoye, Turukhansky District, Krasnoyarsk Krai, Russia[32]
Zackenberg Station, Greenland
Zeppelin (research station), Svalbard, Norway

text: Drifting ice stations[edit]

text:
Station name
Head of the first shift
Drift dates
Drift coordinates
Distance (km)

Began
Ended
Start
Finish

North Pole-1
I.D.Papanin
May 21, 1937
February 19, 1938
89°25′N 78°40′W / 89.417°N 78.667°W / 89.417; -78.667 (North Pole-1 (start))
70°40′N 19°16′W / 70.667°N 19.267°W / 70.667; -19.267 (North Pole-1 (finish))
2,850

North Pole-2
M.M.Somov
April 2, 1950
April 11, 1951
76°03′N 166°36′W / 76.050°N 166.600°W / 76.050; -166.600 (North Pole-2 (start))
81°44′N 163°48′W / 81.733°N 163.800°W / 81.733; -163.800 (North Pole-2 (finish))
2,600

North Pole-3
A.F.Trioshnikov
April 4, 1954
April 20, 1955
85°58′N 175°00′W / 85.967°N 175.000°W / 85.967; -175.000 (North Pole-3 (start))
86°00′N 24°00′W / 86.000°N 24.000°W / 86.000; -24.000 (North Pole-3 (finish))
1,865

North Pole-4
E.I.Tolstikov
April 8, 1954
April 19, 1957
75°48′N 178°25′W / 75.800°N 178.417°W / 75.800; -178.417 (North Pole-4 (start))
85°52′N 00°00′W / 85.867°N -0.000°E / 85.867; -0.000 (North Pole-4 (finish))
6,970

North Pole-5
N.A.Volkov
April 21, 1955
October 8, 1956
82°10′N 156°51′E / 82.167°N 156.850°E / 82.167; 156.850 (North Pole-5 (start))
84°18′N 63°20′E / 84.300°N 63.333°E / 84.300; 63.333 (North Pole-5 (finish))
3,630

North Pole-6
K.A.Sychev
April 19, 1956
September 14, 1959
74°24′N 177°04′W / 74.400°N 177.067°W / 74.400; -177.067 (North Pole-6 (start))
82°06′N 03°56′E / 82.100°N 3.933°E / 82.100; 3.933 (North Pole-6 (finish))
8,650

North Pole-7
V.A.Vedernikov
April 23, 1957
April 11, 1959
82°06′N 164°11′W / 82.100°N 164.183°W / 82.100; -164.183 (North Pole-7 (start))
85°14′N 33°03′W / 85.233°N 33.050°W / 85.233; -33.050 (North Pole-7 (finish))
3,520

North Pole-8
V.M.Rogachyov
April 27, 1959
March 19, 1962
76°11′N 164°24′W / 76.183°N 164.400°W / 76.183; -164.400 (North Pole-8 (start))
83°15′N 132°30′W / 83.250°N 132.500°W / 83.250; -132.500 (North Pole-8 (finish))
6,090

North Pole-9
V.A.Shamontyev
April 26, 1960
March 28, 1961
77°23′N 163°00′E / 77.383°N 163.000°E / 77.383; 163.000 (North Pole-9 (start))
86°36′N 76°00′W / 86.600°N 76.000°W / 86.600; -76.000 (North Pole-9 (finish))
2,660

North Pole-10
N.A.Kornilov
October 17, 1961
April 29, 1964
75°27′N 177°10′E / 75.450°N 177.167°E / 75.450; 177.167 (North Pole-10 (start))
88°32′N 90°30′E / 88.533°N 90.500°E / 88.533; 90.500 (North Pole-10 (finish))
3,960

North Pole-11
N.N.Bryazgin
April 16, 1962
April 20, 1963
77°10′N 165°58′W / 77.167°N 165.967°W / 77.167; -165.967 (North Pole-11 (start))
81°10′N 139°34′W / 81.167°N 139.567°W / 81.167; -139.567 (North Pole-11 (finish))
2,400

North Pole-12
L.N.Belyakov
April 30, 1963
April 25, 1965
76°50′N 165°34′W / 76.833°N 165.567°W / 76.833; -165.567 (North Pole-12 (start))
81°06′N 145°47′W / 81.100°N 145.783°W / 81.100; -145.783 (North Pole-12 (finish))
1,595

North Pole-13
A.Ya. Buzuyev
April 22, 1964
April 20, 1967
73°55′N 161°19′W / 73.917°N 161.317°W / 73.917; -161.317 (North Pole-13 (start))
87°55′N 03°32′E / 87.917°N 3.533°E / 87.917; 3.533 (North Pole-13 (finish))
3,545

North Pole-14
Yu. B.Konstantinov
May 1, 1965
February 12, 1966
72°42′N 175°25′W / 72.700°N 175.417°W / 72.700; -175.417 (North Pole-14 (start))
76°59′N 154°49′E / 76.983°N 154.817°E / 76.983; 154.817 (North Pole-14 (finish))
1,040

North Pole-15
V.V.Panov
April 15, 1966
March 25, 1968
78°49′N 168°08′E / 78.817°N 168.133°E / 78.817; 168.133 (North Pole-15 (start))
85°45′N 10°30′W / 85.750°N 10.500°W / 85.750; -10.500 (North Pole-15 (finish))
2,330

North Pole-16
Yu. B.Konstantinov
April 10, 1968
March 22, 1972
75°31′N 172°00′W / 75.517°N 172.000°W / 75.517; -172.000 (North Pole-16 (start))
86°00′N 85°27′W / 86.000°N 85.450°W / 86.000; -85.450 (North Pole-16 (finish))
5,850

North Pole-17
N.I.Blinov
April 18, 1968
October 16, 1969
80°30′N 165°26′E / 80.500°N 165.433°E / 80.500; 165.433 (North Pole-17 (start))
86°48′N 25°20′E / 86.800°N 25.333°E / 86.800; 25.333 (North Pole-17 (finish))
1,750

North Pole-18
N.N.Ovchinnikov
October 9, 1969
October 24, 1971
75°10′N 165°02′W / 75.167°N 165.033°W / 75.167; -165.033 (North Pole-18 (start))
86°06′N 153°51′E / 86.100°N 153.850°E / 86.100; 153.850 (North Pole-18 (finish))
5,240

North Pole-19
A.N.Chilingarov
November 7, 1969
April 16, 1973
74°54′N 160°13′E / 74.900°N 160.217°E / 74.900; 160.217 (North Pole-19 (start))
83°08′N 16°17′E / 83.133°N 16.283°E / 83.133; 16.283 (North Pole19- (finish))
6,705

North Pole-20
Yu. P.Tikhonov
April 22, 1970
May 17, 1972
75°56′N 175°22′E / 75.933°N 175.367°E / 75.933; 175.367 (North Pole-20 (start))
81°44′N 166°47′W / 81.733°N 166.783°W / 81.733; -166.783 (North Pole-20 (finish))
3,780

North Pole-21
G.I.Kizino
April 30, 1972
May 17, 1974
74°06′N 178°15′E / 74.100°N 178.250°E / 74.100; 178.250 (North Pole-21 (start))
86°16′N 143°35′E / 86.267°N 143.583°E / 86.267; 143.583 (North Pole-21 (finish))
3,605

North Pole-22
V.G.Moroz
September 13, 1973
April 8, 1982
76°16′N 168°31′W / 76.267°N 168.517°W / 76.267; -168.517 (North Pole-22 (start))
86°10′N 00°00′W / 86.167°N -0.000°E / 86.167; -0.000 (North Pole-22 (finish))
17,069

North Pole-23
V.M.Piguzov
December 5, 1975
November 1, 1978
73°51′N 178°25′W / 73.850°N 178.417°W / 73.850; -178.417 (North Pole-23 (start))
87°40′N 22°31′W / 87.667°N 22.517°W / 87.667; -22.517 (North Pole-23 (finish))
5,786

North Pole-24
I.K.Popov
June 23, 1978
November 19, 1980
76°45′N 163°00′E / 76.750°N 163.000°E / 76.750; 163.000 (North Pole-24 (start))
86°03′N 29°40′E / 86.050°N 29.667°E / 86.050; 29.667 (North Pole-24 (finish))
5,652

North Pole-25
V.S.Sidorov
May 16, 1981
April 20, 1984
75°01′N 168°35′E / 75.017°N 168.583°E / 75.017; 168.583 (North Pole-25 (start))
85°50′N 122°15′W / 85.833°N 122.250°W / 85.833; -122.250 (North Pole-25 (finish))
5,754

North Pole-26
V.S.Sidorov
May 21, 1983
April 9, 1986
78°30′N 174°46′E / 78.500°N 174.767°E / 78.500; 174.767 (North Pole-26 (start))
82°46′N 170°31′W / 82.767°N 170.517°W / 82.767; -170.517 (North Pole-26 (finish))
5,380

North Pole-27
Yu. P.Tikhonov
June 2, 1984
May 20, 1987
78°31′N 160°30′E / 78.517°N 160.500°E / 78.517; 160.500 (North Pole-27 (start))
86°28′N 09°02′W / 86.467°N 9.033°W / 86.467; -9.033 (North Pole-27(finish))
5,655

North Pole-28
A.F.Chernyshov
May 21, 1986
January 23, 1989
80°40′N 168°29′E / 80.667°N 168.483°E / 80.667; 168.483 (North Pole-28 (start))
79°40′N 03°09′E / 79.667°N 3.150°E / 79.667; 3.150 (North Pole-28 (finish))
7,634

North Pole-29
V.V.Lukin
June 10, 1987
August 19, 1988
80°22.8′N 112°59′E / 80.3800°N 112.983°E / 80.3800; 112.983 (North Pole-29 (start))
84°42.8′N 56°34.3′W / 84.7133°N 56.5717°W / 84.7133; -56.5717 (North Pole-29 (finish))
2,686

North Pole-30
V.M.Piguzov
October 9, 1987
April 4, 1991
74°18′N 171°24′W / 74.300°N 171.400°W / 74.300; -171.400 (North Pole-30 (start))
82°31′N 126°26′W / 82.517°N 126.433°W / 82.517; -126.433 (North Pole-30 (finish))
7,675

North Pole-31
V.S.Sidorov
October 22, 1988
July 25, 1991
76°35′N 153°10′W / 76.583°N 153.167°W / 76.583; -153.167 (North Pole-31 (finish))
73°33′N 161°04′W / 73.550°N 161.067°W / 73.550; -161.067 (North Pole-31 (finish))
5,475

North Pole-32
V.S.Koshelev
April 25, 2003
March 6, 2004
87°52.5′N 148°03′E / 87.8750°N 148.050°E / 87.8750; 148.050 (North Pole-32 (start))
84°41′N 03°33′W / 84.683°N 3.550°W / 84.683; -3.550 (North Pole-32 (finish))
2,418

North Pole-33
A.A.Visnevsky
September 9, 2004
October 5, 2005
85°05′N 156°31′E / 85.083°N 156.517°E / 85.083; 156.517 (North Pole-33 (start))
86°14′N 95°54′E / 86.233°N 95.900°E / 86.233; 95.900 (North Pole-33 (finish))
3,156

North Pole-34
T.V.Petrovsky
September 19, 2005
May 25, 2006
85°39′N 115°19′E / 85.650°N 115.317°E / 85.650; 115.317 (North Pole-34 (start))
87°26′N 07°39′E / 87.433°N 7.650°E / 87.433; 7.650 (North Pole-34 (finish))
2,032

North Pole-35
Vladimir Chupun[33]
September 21, 2007
July 22, 2008
81°30′N 103°54′E / 81.500°N 103.900°E / 81.500; 103.900 (North Pole-35 (start))
81°00′N 31°18′E / 81.000°N 31.300°E / 81.000; 31.300 (North Pole-35 (finish))
3,614

North Pole-36
Yuri Katrayev
September 7, 2008
August 24, 2009
82°32′N 144°56′E / 82.533°N 144.933°E / 82.533; 144.933 (North Pole-36 (start))
85°53′N 26°41′W / 85.883°N 26.683°W / 85.883; -26.683 (North Pole-36 (finish))
2,905

North Pole-37
Sergey Lesenkov
September 7, 2009
May 31, 2010
81°28′N 164°35′W / 81.467°N 164.583°W / 81.467; -164.583 (North Pole-37 (start))
80°04′N 140°40′W / 80.067°N 140.667°W / 80.067; -140.667 (North Pole-37 (finish))
2,076

North Pole-38
Tomash Petrovskiy
October 14, 2010
September 20, 2011
76°07′N 176°32′W / 76.117°N 176.533°W / 76.117; -176.533 (North Pole-38 (start))
83°53′N 154°18′W / 83.883°N 154.300°W / 83.883; -154.300 (North Pole-38 (finish))
3,024

North Pole-39
Alexander Ipatov
October 2, 2011
September 15, 2012
84°10′N 148°49′W / 84.167°N 148.817°W / 84.167; -148.817 (North Pole-39 (start))
83°57′N 96°44′W / 83.950°N 96.733°W / 83.950; -96.733 (North Pole-39 (finish))
1,885

North Pole-40
Nikolai Fomichev
October 1, 2012
June 7, 2013
85°21′N 142°53′W / 85.350°N 142.883°W / 85.350; -142.883 (North Pole-40 (start))
82°25′N 130°25′W / 82.417°N 130.417°W / 82.417; -130.417 (North Pole-40 (finish))
1,736

North Pole-2015
Dmitrij Mamadaliev
April 11, 2015
August 9, 2015

89°34′N 17°08′W / 89.567°N 17.133°W / 89.567; -17.133 (North Pole-2015 (start))

86°15′N 07°52′W / 86.250°N 7.867°W / 86.250; -7.867 (North Pole-2015 (finish))
714

text: Fletcher's Ice Island, US (1952 - 1978)


document_title: Hay

question_text: what are the big rolls of hay called

question_tokens: what are the big rolls of hay called

root

text: Hay

text: Composition[edit]

text: Commonly used plants for hay include mixtures of grasses such as ryegrass (Lolium species), timothy, brome, fescue, Bermuda grass, orchard grass, and other species, depending on region. Hay may also include legumes, such as alfalfa (lucerne) and clovers (red, white and subterranean). Legumes in hay are ideally cut pre-bloom. Other pasture forbs are also sometimes a part of the mix, though these plants are not necessarily desired as certain forbs are toxic to some animals.

tag: p

text: Oat, barley, and wheat plant materials are occasionally cut green and made into hay for animal fodder; however they are more usually used in the form of straw, a harvest byproduct where the stems and dead leaves are baled after the grain has been harvested and threshed. Straw is used mainly for animal bedding. Although straw is also used as fodder, particularly as a source of dietary fiber, it has lower nutritional value than hay.

text: It is the leaf and seed material in the hay that determines its quality. Farmers try to harvest hay at the point when the seed heads are not quite ripe and the leaf is at its maximum when the grass is mowed in the field. The cut material is allowed to dry so that the bulk of the moisture is removed but the leafy material is still robust enough to be picked up from the ground by machinery and processed into storage in bales, stacks or pits.

text: Hay is very sensitive to weather conditions, especially when it is harvested. In drought conditions, both seed and leaf production are stunted, making hay that has a high ratio of dry coarse stems that have very low nutritional values. If the weather is too wet, the cut hay may spoil in the field before it can be baled. Thus the biggest challenge and risk for farmers in producing hay crops is the weather, especially the weather of the particular few weeks when the plants are at the best age/maturity for hay. A lucky break in the weather often moves the haymaking tasks (such as mowing, tedding, and baling) to the top priority on the farm's to-do list. This is reflected in the idiom to make hay while the sun shines. Hay that was too wet at cutting may develop rot and mold after being baled, creating the potential for toxins to form in the feed, which could make the animals sick.

text: After harvest, hay also has to be stored in a manner to prevent it from getting wet. Mold and spoilage reduce nutritional value and may cause illness in animals.  A symbiotic fungus in fescue may cause illness in horses and cattle.[1]

text: The successful harvest of maximum yields of high-quality hay is entirely dependent on the coincident occurrence of optimum crop, field, and weather conditions. When this occurs, there may be a period of intense activity on the hay farm while harvest proceeds until weather conditions become unfavourable.

text: Feeding hay[edit]

text: Hay or grass is the foundation of the diet for all grazing animals and can provide as much as 100% of the fodder required for an animal. Hay is usually fed to an animal in place of allowing the animal to graze on grasses in a pasture, particularly in the winter or during times when drought or other conditions make pasture unavailable. Animals that can eat hay vary in the types of grasses suitable for consumption, the ways they consume hay, and how they digest it. Therefore, different types of animals require hay that consists of similar plants to what they would eat while grazing, and likewise, plants that are toxic to an animal in pasture are also toxic if they are dried into hay.

text: Most animals are fed hay in two daily feedings, morning and evening. However, this schedule is more for the convenience of humans, as most grazing animals on pasture naturally consume fodder in multiple feedings throughout the day. Some animals, especially those being raised for meat, may be given enough hay that they simply are able to eat all day. Other animals, especially those that are ridden or driven as working animals, are only free to eat when not working, and may be given a more limited amount of hay to prevent them from getting too fat. The proper amount of hay and the type of hay required varies somewhat between different species.  Some animals are also fed concentrated feeds such as grain or vitamin supplements in addition to hay. In most cases, hay or pasture forage must make up 50% or more of the diet by weight.

text: One of the most significant differences in hay digestion is between ruminant animals, such as cattle and sheep; and nonruminant, hindgut fermentors, such as horses. Both types of animals can digest cellulose in grass and hay, but do so by different mechanisms. Because of the four-chambered stomach of cattle, they are often able to break down older forage and have more tolerance of mold and changes in diet.  The single-chambered stomach and cecum or "hindgut" of the horse uses bacterial processes to break down cellulose that are more sensitive to changes in feeds and the presence of mold or other toxins, requiring horses to be fed hay of a more consistent type and quality.[2]

text: Different animals also use hay in different ways: cattle evolved to eat forages in relatively large quantities at a single feeding, and then, due to the process of rumination, take a considerable amount of time for their stomachs to digest food, often accomplished while the animal is lying down, at rest. Thus quantity of hay is important for cattle, who can effectively digest hay of low quality if fed in sufficient amounts.  Sheep will eat between two and four percent of their body weight per day in dry feed, such as hay,[3] and are very efficient at obtaining the most nutrition possible from three to five pounds per day of hay or other forage.[4] They require three to four hours per day to eat enough hay to meet their nutritional requirements.[5]

text: Unlike ruminants, horses digest food in small portions throughout the day, and can only use approximately 2.5% of their body weight in feed in any 24-hour period. They evolved to be continuously on the move while grazing, (covering up to 50 miles (80 km) per day in the wild) and their stomach digests food quite rapidly. Thus, they extract more nutrition out of smaller quantities of feed.[6] However, when horses are fed low-quality hay, they may develop an unhealthy, obese, "hay belly" due to over-consumption of "empty" calories. If their type of feed is changed dramatically, or if they are fed moldy hay or hay containing toxic plants, they can become ill; colic is the leading cause of death in horses. Contaminated hay can also lead to respiratory problems in horses. Hay can be soaked in water, sprinkled with water or subjected to steaming to reduce dust.

text: Making and transporting hay[edit]

text: Hay production and harvest, colloquially known as "making hay",[7] "haymaking", or "doing hay", involves a multiple step process: cutting, drying or "curing", raking, processing, and storing. Hayfields do not have to be reseeded each year in the way that grain crops are, but regular fertilizing is usually desirable, and overseeding a field every few years helps increase yield.

text: Methods and the terminology to describe the steps of making hay have varied greatly throughout history, and many regional variations still exist today. However, whether done by hand or by modern mechanized equipment, tall grass and legumes at the proper stage of maturity must be cut, then allowed to dry (preferably by the sun), then raked into long, narrow piles known as windrows. Next, the cured hay is gathered up in some form (usually by some type of baling process) and placed for storage into a haystack or into a barn or shed to protect it from moisture and rot.

text: During the growing season, which is spring and early summer in temperate climates, grass grows at a fast pace. It is at its greatest nutritive value when all leaves are fully developed and seed or flower heads are just a bit short of full maturity. When growth is at a maximum in the pasture or field, if judged correctly, it is cut. Grass hay cut too early will not cure as easily due to high moisture content, plus it will produce a lower yield per acre than longer, more mature grass. But hay cut too late is coarser, lower in resale value and has lost some of its nutrients. There is usually about a two-week "window" of time in which grass is at its ideal stage for harvesting hay. The time for cutting alfalfa hay is ideally done when plants reach maximum height and are producing flower buds or just beginning to bloom, cutting during or after full bloom results in lower nutritional value of the hay.

text: Hay can be raked into rows as it is cut, then turned periodically to dry, particularly if a modern swather is used. Or, especially with older equipment or methods, the hay is cut and allowed to lie spread out in the field until it is dry, then raked into rows for processing into bales afterwards. During the drying period, which can take several days, the process is usually sped up by turning the cut hay over with a hay rake or spreading it out with a tedder. If it rains while the hay is drying, turning the windrow can also allow it to dry faster. However, turning the hay too often or too roughly can also cause drying leaf matter to fall off, reducing the nutrients available to animals. Drying can also be sped up by mechanized processes, such as use of a hay conditioner, or by use of chemicals sprayed onto the hay to speed evaporation of moisture, though these are more expensive techniques, not in general use except in areas where there is a combination of modern technology, high prices for hay, and too much rain for hay to dry properly.[8]

text: Once hay is cut, dried and raked into windrows, it is usually gathered into bales or bundles, then hauled to a central location for storage. In some places, depending on geography, region, climate, and culture, hay is gathered loose and stacked without being baled first.

text: Hay must be fully dried when baled and kept dry in storage. If hay is baled while too moist or becomes wet while in storage, there is a significant risk of spontaneous combustion.[9] Hay stored outside must be stacked in such a way that moisture contact is minimal. Some stacks are arranged in such a manner that the hay itself "sheds" water when it falls. Other methods of stacking use the first layers or bales of hay as a cover to protect the rest. To completely keep out moisture, outside haystacks can also be covered by tarps, and many round bales are partially wrapped in plastic as part of the baling process. Hay is also stored under a roof when resources permit. It is frequently placed inside sheds, or stacked inside of a barn. On the other hand, care must also be taken that hay is never exposed to any possible source of heat or flame, as dry hay and the dust it produces are highly flammable.

text: Early methods[edit]

text: Early farmers noticed that growing fields produced more fodder in the spring than the animals could consume, and that cutting the grass in the summer, allowing it to dry and storing it for the winter provided their domesticated animals with better quality nutrition than simply allowing them to dig through snow in the winter to find dried grass. Therefore, some fields were "shut up" for hay.[citation needed]

text: Up to the end of the 19th century, grass and legumes were not often grown together because crops were rotated.[citation needed] However, by the 20th century, good forage management techniques demonstrated that highly productive pastures were a mix of grasses and legumes, so compromises were made when it was time to mow. Later still, some farmers grew crops, like straight alfalfa (lucerne), for special-purpose hay such as that fed to dairy cattle.

text: Much hay was originally cut by scythe by teams of workers, dried in the field and gathered loose on wagons. Later, haying would be done by horse-drawn implements such as mowers. With the invention of agricultural machinery such as the tractor and the baler, most hay production became mechanized by the 1930s.

text: After hay was cut and had dried, the hay was raked or rowed up by raking it into a linear heap by hand or with a horse-drawn implement. Turning hay, when needed, originally was done by hand with a fork or rake. Once the dried hay was rowed up, pitch forks were used to pile it loose, originally onto a horse-drawn cart or wagon, later onto a truck or tractor-drawn trailer, for which a sweep could be used instead of pitch forks.

text: Loose hay was taken to an area designated for storage—usually a slightly raised area for drainage—and built into a hay stack. The stack was made waterproof as it was built (a skilled task) and the hay would compress under its own weight and cure by the release of heat from the residual moisture in the hay and from the compression forces. The stack was fenced from the rest of the paddock in a rick yard, and often thatched or sheeted to keep it dry. When needed, slices of hay would be cut using a hay knife and fed out to animals each day.

text: On some farms the loose hay was stored in a barrack, shed, or barn, normally in such a way that it would compress down and cure. Hay could be stored in a specially designed barn with little internal structure to allow more room for the hay loft. Alternatively, an upper storey of a cow-shed or stable was used, with hatches in the floor to allow hay to be thrown down into hay-racks below.

text: Depending on region, the term "hay rick" could refer to the machine for cutting hay, the hay stack or the wagon used to collect the hay.

text: Hay baling began with the invention of the first hay press in about 1850.[10]   Hay was baled for easier handling and to reduce space required for storage and shipment.  The first bales weighed about 300 lb.  The original machines were of the vertical design similar to the one photographed by Greene Co. Historical Society.  They used a horse driven screw press mechanism or a dropped weight to compress the hay.  The first patent went to HL Emery for a horse powered, screw operated hay press in 1853.  Other models were reported as early as 1843 built by PK Dederick’s Sons of Albany, NY, or Samuel Hewitt of Switzerland County, Ohio.[11]  Later horizontal machines were devised.  One was the “Perpetual Press” made by PK Dederick of Albany, NY, in 1872.  They could be powered by steam engines by about 1882.

text: Greene County (NY) Historical Society reports[12]: “The harvest of hay for the urban market was a major factor in Greene County’s early economy and a hay press was essential to this process.  In 1900, there were 130,000 horses in Manhattan, each one eating fifteen to twenty pounds of hay daily.  This resulted in 400,000 tons of hay, much of it from Greene County being shipped to the city at the turn of the 20th Century.  About 15 presses existed in the Coxsackie – New Baltimore area.”  Theirs will be the only one on display in eastern New York and New England.

text: From 1865 to 1914, most baled hay was stacked out of doors and covered with tarpaulins.  The continuous hay baler arrived in 1914.

text: Modern mechanized techniques[edit]

text: Modern mechanized hay production today is usually performed by a number of machines. While small operations use a tractor to pull various implements for mowing and raking, larger operations use specialized machines such as a mower or a swather, which are designed to cut the hay and arrange it into a windrow in one step. Balers are usually pulled by a tractor, with larger balers requiring more powerful tractors.

text: Mobile balers, machines which gather and bale hay in one process, were first developed around 1940. The first balers produced rectangular bales small enough for a person to lift, usually between 70 and 100 pounds (32 and 45 kg) each. The size and shape made it possible for people to pick bales up, stack them on a vehicle for transport to a storage area, then build a haystack by hand. However, to save labor and increase safety, loaders and stackers were also developed to mechanise the transport of small bales from the field to the haystack. Later in the 20th century, balers were developed capable of producing large bales that weigh up to 3,000 pounds (1,400 kg).[13]

text: Conditioning of hay has become popular. The basic idea is that it decreases drying time, particularly in humid climates or if rain interferes with haying. Usually, a salt solution is sprayed over the top of the hay (generally alfalfa) that helps to dry the hay. Conditioning can also refer to the rollers inside a swather that crimps the alfalfa to help squeeze out the moisture.[citation needed]

text: Fertilization and weed control[edit]

text: Modern hay production often relies on artificial fertilizer and herbicides. Traditionally, manure has been used on hayfields, but modern chemical fertilizers are used today as well. Hay that is to be certified as weed-free for use in wilderness areas must often be sprayed with chemical herbicides to keep unwanted weeds from the field, and sometimes even non-certified hayfields are sprayed to limit the production of noxious weeds. However, organic forms of fertilization and weed control are required for hay grown for consumption by animals whose meat will ultimately be certified organic. To that end, compost and field rotation can enhance soil fertility, and regular mowing of fields in the growth phase of the hay will often reduce the prevalence of undesired weeds. In recent times, some producers have experimented with human sewage sludge to grow hay. This is not a certified organic method and no warning labels are mandated by EPA.[14] One concern with hay grown on human sewage sludge is that the hay can take up heavy metals, which are then consumed by animals.[15] Molybdenum poisoning is a particular concern in ruminants such as cows and goats, and there have been animal deaths.[16][17][18] Another concern is with a herbicide known as aminopyralid, which can pass through the digestive tract in animals, making their resulting manure toxic to many plants and thus unsuitable as fertilizer for food crops.[19] Aminopyralid and related herbicides can persist in the environment for several years.

text: Baling[edit]

text: Small bales[edit]

text: Small bales are still produced today. While balers for small bales are still manufactured, as well as loaders and stackers, there are some farms that still use equipment manufactured over 50 years ago, kept in good repair. The small bale remains part of overall ranch lore and tradition with "hay bucking" competitions still held for fun at many rodeos and county fairs.

text: Small square bales are stacked in a criss-crossed fashion sometimes called a "rick" or "hayrick". Rain tends to wash nutrition out of hay and can cause spoilage or mold. Hay in small square bales is particularly susceptible to this, and is therefore often stored in a hayshed or protected by tarpaulins. If this is not done, the top two layers of the stack are often lost to rot and mold, and if the stack is not arranged in a proper hayrick, moisture can seep even deeper into the stack. The rounded shape and tighter compaction of small (and large) round bales makes them less susceptible to spoilage, as the water is less likely to penetrate into the bale. The addition of net wrap, which is not used on square bales, offers even greater weather resistance.

text: People who keep small numbers of animals may prefer small bales that can be handled by one person without machinery. There is also a risk that hay bales may be moldy, or contain decaying carcasses of small creatures that were accidentally killed by baling equipment and swept up into the bale, which can produce toxins such as botulism. Both can be deadly to non-ruminant herbivores, such as horses, and when this occurs, the entire contaminated bale generally is thrown out, another reason some people continue to support the market for small bales.

text: Large bales[edit]

text: Farmers who need to make large amounts of hay are likely to choose balers which produce much larger bales, maximizing the amount of hay which is protected from the elements. Large bales come in two types, round and square. Large square bales, which can weigh up to 1,000 kilograms (2,200 lb), can be stacked and are easier to transport on trucks. Large round bales, which typically weigh 300 to 400 kilograms (660–880 lb), are more moisture-resistant, and pack the hay more densely (especially at the center). Round bales are quickly fed with the use of mechanized equipment.

text: The ratio of volume to surface area makes it possible for many dry-area farmers to leave large bales outside until they are consumed. Wet-area farmers and those in climates with heavy snowfall can stack round bales under a shed or tarp, but can also use a light but durable plastic wrap that partially encloses bales left outside. The wrap repels moisture, but leaves the ends of the bale exposed so that the hay itself can "breathe" and does not begin to ferment. However, when it is possible to store round bales under a shed, they last longer and less hay is lost to rot and moisture.[20]

text: Haylage[edit]

text: For animals that eat silage, a bale wrapper may be used to seal a round bale completely and trigger the fermentation process. It is a technique used as a money-saving process by producers who do not have access to a silo, and for producing silage that is transported to other locations. However, a silo is still a preferred method for making silage.[21] In very damp climates, it is a legitimate alternative to drying hay completely and when processed properly, the natural fermentation process prevents mold and rot. Round bale silage is also sometimes called "haylage", and is seen more commonly in Europe than in either the United States or Australia. However, hay stored in this fashion must remain completely sealed in plastic, as any holes or tears can stop the preservation properties of fermentation and lead to spoilage.[22]

text: Haystacks[edit]

text: Haystacks are stacks of harvested hay, stacked in many different ways, depending upon region of the world, climate, if baled or loose, and so on.  Hay requires protection from weather, and is optimally stored inside buildings or other structures, but haystacks are also built in an open field.  A fence may be built to enclose a haystack and prevent roaming animals from eating it,[23][24] or animals may feed directly from a field-constructed stack as part of their winter feeding.[25]

text: Haystacks are also called haycocks in some dialects of English. The words are usually styled as solid compounds, but not always. They are also sometimes called stooks, shocks, or ricks.

text: Loose hay stacking[edit]

text: Loose stacks are built to prevent accumulation of moisture and promote drying, or curing. In some places, this is accomplished by constructing stacks with a conical or ridged top.[23][26] The exterior may look gray on the surface after weathering, but the inner hay retains traces of its fresh-cut aroma and maintains a faded green tint.[23] They can be covered with thatch,[26][27] or kept within a protective structure. One such structure is a moveable roof supported by four posts, historically called a Dutch roof, hay barrack, or hay cap.[27][28] Haystacks may also be built on top of a foundation laid on the ground to reduce spoilage, in some places made of wood or brush.[23] In other areas, hay is stacked loose, built around a central pole, a tree, or within an area of three or four poles to add stability to the stack.[29][30][31]

text: One loose hay stacking technique seen in the British isles is to initially stack freshly cut hay into smaller mounds called foot cocks, hay coles, kyles, hayshocks or haycocks, to facilitate initial curing.[23][32] These are sometimes built atop platforms or tripods formed of three poles, used to keep hay off the ground and let air into the center for better drying.[33] The shape causes dew and rain water roll down the sides, allowing the hay within to cure.[23] People who handle the hay may use hayforks or pitchforks to move or pitch the hay in building haycocks and haystacks.[23][34] Construction of tall haystacks is sometimes aided with a ramp, ranging from simple poles to a device for building large loose stacks called a beaverslide.[23][35]

text: Safety issues[edit]

text: Farmer's lung (not to be confused with silo-filler's disease) is a hypersensitivity pneumonitis induced by the inhalation of biologic dusts coming from hay dust or mold spores or other agricultural products.[36] Exposure to hay can also trigger Allergic rhinitis for people who are hypersensitive to airborne allergens.

text: Hay baled before it is fully dry can produce enough heat to start a fire.  Haystacks produce internal heat due to bacterial fermentation. If hay is stacked with wet grass, the heat produced can be sufficient to ignite the hay causing a fire. Farmers have to be careful about moisture levels to avoid spontaneous combustion, which is a leading cause of haystack fires.[37] Heat is produced by the respiration process, which occurs until the moisture content of drying hay drops below 40%. Hay is considered fully dry when it reaches 20% moisture. Combustion problems typically occur within five days to seven days of baling. A bale cooler than 120 °F (49 °C) is in little danger, but bales between 120 and 140 °F (49 and 60 °C) need to be removed from a barn or structure and separated so that they can cool off. If the temperature of a bale exceeds more than 140 °F (60 °C), it can combust.[38]

text: Due to its weight, hay can cause a number of injuries to humans, particularly those related to lifting and moving bales, as well as risks related to stacking and storing. Hazards include the danger of having a poorly constructed stack collapse, causing either falls to people on the stack or injuries to people on the ground who are struck by falling bales. Large round hay bales present a particular danger to those who handle them, because they can weigh over 1,000 pounds (450 kg) and cannot be moved without special equipment. Nonetheless, because they are cylindrical in shape, and thus can roll easily, it is not uncommon for them to fall from stacks or roll off the equipment used to handle them.  From 1992 to 1998, 74 farm workers in the United States were killed in large round hay bale accidents, usually when bales were being moved from one location to another, such as when feeding animals.[39][40]

text: Hay is generally one of the safest feeds to provide to domesticated grazing herbivores. However, some precautions are needed. Amount must be monitored so that animals do not get too fat or too thin. Supplemental feed may be required for working animals with high energy requirements. Animals who eat spoiled hay may develop a variety of illnesses, from coughs related to dust and mold, to various other illnesses, the most serious of which may be botulism, which can occur if a small animal, such as a rodent or snake, is killed by the baling equipment, then rots inside the bale, causing a toxin to form. Some animals are sensitive to particular fungi or molds that may grow on living plants. For example, an endophytic fungus that sometimes grows on fescue can cause abortion in pregnant mares.[41] Some plants themselves may also be toxic to some animals. For example, Pimelea, a native Australian plant, also known as flax weed, is highly toxic to cattle.[42]

text: Chemical composition of hay[edit]

text:
CHEMICAL COMPOSITION OF HAY[43]

Description

Water

Ash

Albumin-
oids

Crude
Fiber

Extractive Matter Free From Nitrogen

Fat

Meadow hay- poor

14.3

5.0

7.5

33.5

38.2

1.5

Meadow hay- average

14.3

6.2

9.7

26.3

41.6

2.3

Meadow hay- good

15.0

7.0

11.7

21.9

42.3

2.2

Meadow hay- prime

16.0

7.7

13.5

19.3

40.8

2.6

Red clover hay- poor

15.0

5.0

7.5

33.5

38.2

1.5

Red clover hay- average

16.0

5.3

12.3

26.0

38.2

2.2

Red clover hay- good

16.5

5.3

12.3

26.0

38.2

2.2

Red clover hay- prime

16.5

7.0

15.3

22.2

35.8

3.2

PROTEIN FIBER

Grasses

Timothy

14.3

5.0

7.5

33.5

38.2

1.5

Redtop

8.9

5.2

7.9

28.6

47.5

1.9

Ky. blue grass

9.4

7.7

10.4

19.6

50.4

2.5

Orchard grass

9.9

6.0

8.1

32.4

41.0

2.6

Meadow fescue

20.0

6.8

7.0

25.9

38.4

2.7

Brome grass

11.0

9.5

11.6

30.8

35.2

1.8

Johnson grass

10.2

6.1

7.2

28.5

45.9

2.1

Legumes

Alfalfa

8.4

7.4

14.3

25.0

42.7

2.2

Red clover

20.8

6.6

12.4

21.9

33.8

4.5

Crimson clover

9.6

8.6

15.2

27.2

36.6

2.8

Cow pea

10.7

7.5

16.6

20.1

42.2

2.9

Soy bean

11.3

7.2

15.4

22.3

38.6

5.2

Barley

10.6

5.3

9.3

23.6

48.7

2.5

Oats

16.0

6.1

7.4

27.2

40.6

2.7

tag: table


document_title: Battlestar Galactica

question_text: which came first battlestar galactica or star wars

text: Battlestar Galactica

text: Original series[edit]

text: Battlestar Galactica (1978)[edit]

text: Glen A. Larson, the creator and executive producer of Battlestar Galactica, claimed he had conceived of the Battlestar Galactica premise, which he called Adam's Ark, during the late 1960s. As James E. Ford detailed in “Battlestar Galactica and Mormon Theology,” a paper read at the Joint Conference of the American Culture and Popular Culture Associations on 17 April 1980 (and published as “Theology in Prime Time Science Fiction: Battlestar Galactica and Mormon Doctrine,” Journal of Popular Culture #17 [1983]: 83–87), the series incorporated many themes from Mormon theology, such as marriage for "time and eternity", a "council of twelve," and a planet called Kobol, as Larson was a member of The Church of Jesus Christ of Latter-day Saints.[1][2] However, he was unable to find financial backing for his TV series for a number of years. Battlestar Galactica was finally produced in the wake of the success of the 1977 film Star Wars. The original Cylons of Battlestar Galactica, robotic antagonists bent on destroying all humankind, owe much to Fred Saberhagen's berserker stories, including Saberhagen's fictional race The Builders whose "sliding single red eye" became the signature design element for the Cylons.

text: Larson had envisioned Battlestar Galactica as a series of made-for-TV movies (a three-hour pilot program and two two-hour episodes) for the American Broadcasting Company (ABC). A shortened version of the three-hour pilot, Saga of a Star World, was screened in Canadian theaters (before the TV series was telecast) and in American, European and Australian theaters later on. Instead of two additional TV movies, ABC decided to commission a weekly TV series of one-hour episodes.

text: In 1979 at the sixth annual People's Choice Awards, the TV series won in the category of "Best New TV Drama Series".[3]

text: The first episode of the TV series (the long pilot TV movie) was broadcast on September 17, 1978. However, about 30 minutes before the end, that broadcast was interrupted by the announcement of the signing of the Egyptian–Israeli Camp David Accords. After the interruption (which was nearly an hour in length), the episode picked back up where it left off.

text: During the eight months after the pilot's first broadcast, 17 original episodes of the series were made (five of them two-part shows), equivalent to a standard 24-episode TV season. Citing declining ratings and cost overruns, ABC canceled Battlestar Galactica in April 1979. Its final episode "The Hand of God" was telecast on April 29, 1979.

text: Galactica 1980[edit]

text: During the autumn of 1979, ABC executives met with Battlestar Galactica's creator Glen A. Larson to consider restarting the series. A suitable concept was needed to draw viewers, and it was decided that the arrival of the Colonial Fleet at present-day Earth would be the storyline. A new TV movie called  Galactica 1980 was produced. Again, it was decided this new version of Battlestar Galactica would be made into a weekly TV series. Despite the early success of the premiere, this program failed to achieve the popularity of the original series, and it was canceled after just ten episodes.

text: In this 1980 sequel series, the Colonial fleet finds the Earth, and then it covertly protects it from the Cylons. This series was a quick failure due to its low budget (e.g., recycling footage from the 1974 Universal Studios movie Earthquake during a Cylon attack sequence), widely panned writing, and ill-chosen time slot (Sunday evenings, a time generally reserved for family-oriented programming and, more specifically, also for the 60 Minutes newsmagazine program). The TV series also had to adhere to strict content restrictions such as limiting the number of acts of violence and being required to shoehorn educational content into the script and dialogue.

text: To cut costs, the show was set mostly on the contemporary Earth, to the great dismay of fans. Another factor for fan apathy was the nearly complete recasting of the original series: Lorne Greene reprised his role as Adama (working unpaid),[citation needed] Herb Jefferson, Jr. played "Colonel" Boomer in about half of the episodes (with little screentime), and Dirk Benedict as Starbuck for one episode (the abrupt final episode, though his character was to have also appeared in the unfilmed episode "Wheel of Fire", which was a semi-sequel to "The Return of Starbuck"). Richard Hatch (Apollo in the original series) was sent a script for Galactica 1980, but he turned it down since he was not sure what his part in the series would be now that all the characters had changed.[4]

text: Some TV syndication packages for Battlestar Galactica incorporate the episodes of this series.

text: Cinema releases[edit]

text: Besides a re-edited version of the pilot, released in Canada, Europe, parts of Latin America, and, following the broadcast of the series, in the U.S., two other Battlestar Galactica feature films were released in cinemas. Mission Galactica: The Cylon Attack and Conquest of the Earth were made up of various episodes of the original series and Galactica 1980 respectively. (See List of Battlestar Galactica (1978 TV series) and Galactica 1980 episodes § Theatrical releases)

text: Attempted revivals[edit]

text: The original series maintained a cult fandom, which has supported efforts by Glen A. Larson, Richard Hatch, and Bryan Singer (independently of one another) to revive the premise.

text: Richard Hatch produced a demonstration video in 1998–99 which featured several actors from the original series combined with state-of-the-art special effects. This video, titled Battlestar Galactica: The Second Coming, was screened at some science fiction conventions, but it did not lead to a new series.

text: In 1999, the producer of Wing Commander, Todd Moyer, and the producer of the original TV series, Glen Larson, announced plans to produce a motion picture based on the TV series.[5][6][7] It would have featured Battlestar Pegasus.

text: In 2000, the director and an executive producer of the X-Men movie, Bryan Singer and Tom DeSanto, began developing a Battlestar Galactica TV miniseries  under the auspices of Studios USA for the Fox TV network. A continuation of the original series but set 25 years later, Singer and DeSanto's version included several members of the original cast reprising their original roles and the introduction of newer characters. It was intended to be telecast as a backdoor pilot in May 2002, and pre-production commenced and sets had even been partially constructed with a view to filming starting in November 2001.[8] However, production delays caused by the September 11, 2001 attacks meant that Bryan Singer had to drop out, due to his commitment to direct the X-Men 2 movie. This caused the executives of Fox TV to lose interest in this project.

text: Reimagined series[edit]

text: The Miniseries[edit]

text: Despite attempts to revive the series over the years, none came to fruition until it was reimagined in 2003 by Universal Television as Battlestar Galactica, a three-hour miniseries. Commissioned by the Sci-Fi Channel, screenwriter Ronald D. Moore and producer David Eick were the creative forces behind it. Academy Award-nominated actor Edward James Olmos was cast in the role of Commander Adama, while two-time Academy Award nominee Mary McDonnell was cast as President Laura Roslin. Starbuck and Boomer were now female characters, portrayed by Katee Sackhoff and Grace Park respectively. Other cast members included Jamie Bamber (Captain Lee 'Apollo' Adama), James Callis (Dr. Gaius Baltar), and Tricia Helfer as a Cylon known as "Number Six".[9] The mini-series was a ratings success for the Sci-Fi Channel and they commissioned a new weekly Battlestar Galactica series to follow.

text: Battlestar Galactica (2004)[edit]

text: The new TV series was co-funded by the UK's Sky Television, and premiered in the United Kingdom on the Sky1 satellite channel in October 2004. The series was then broadcast in North America on the Sci-Fi Channel in January 2005. Continuing where the 2003 mini-series left off, the main cast all returned to reprise their roles. Several new characters were introduced, and Richard Hatch, who played Captain Apollo in the 1970s Battlestar Galactica TV series, also appeared in several episodes as Tom Zarek, a former political terrorist who later becomes part of the new Colonial government.

text: An edited version of the pilot miniseries was aired on NBC on January 9, 2005, five days before the Sci-Fi series premiere. NBC also aired three selected first-season episodes to promote the show in advance of the second-season premiere in July 2005. The series ran for four seasons between 2004 and 2009. The second season was split into two halves screened several months apart. Due to production delays caused by the 2007–2008 Writers Guild strike, the fourth season was also split into two parts, with a seven-month hiatus in between.

text: The series has won widespread critical acclaim among many mainstream non-SF-genre publications. Time[10] and New York Newsday[11] named it the best show on television in 2005. Other publications such as The New York Times,[12] The New Yorker,[13] National Review[14] and Rolling Stone magazine[15] also gave the show positive reviews.

text: The show has received a Peabody Award for overall excellence, several Emmy Awards for Visual Effects, and Emmy nominations for Writing and Directing. Time Magazine named it one of the 100 Best TV Shows of All Time.[16]

text: Razor[edit]

text: Battlestar Galactica: Razor is a 2007 television movie produced and broadcast in the gap between Seasons 3 and 4 of the re-imagined series. Razor is also the first two episodes of Season 4 though it chronicles events on Battlestar Pegasus in two time periods, both of which are "in the past" with respect to the Season 4 continuity. The "present day" framing scenes are set during Lee Adama's command of the Pegasus in the latter half of Season 2, while "flashback" scenes depict Helena Cain's command in the period between the Cylon attack (shown in the 2003 mini-series) and the reunion with the Galactica in the second season. It aired in the United States and Canada on November 24, 2007 and in the UK and Ireland on December 18, 2007. An expanded version of the movie was released on DVD on December 4, 2007.

text: Webisodes[edit]

text: The first set of webisodes were a series of shorts produced in 2006 to promote the third season of the re-imagined show. Made as an "optional extra" to Season 3, the webisodes filled in some of the events between the second and third seasons and featured some of the main cast, though did not reveal what would happen in the beginning of Season 3, nor was viewing them essential to follow the story of the third season. Each of the ten webisodes was approximately three minutes long, and they were released twice a week leading up to the U.S. Season 3 premiere in 2006.

text: The Razor Flashbacks were a series of seven webisodes produced in 2007, set some 40 years earlier during William Adama's fighter pilot days during the later stages of the First Cylon War. They were released on the Internet as "webisodes" leading up to Razor's release. They are now available on the DVD and Blu-Ray releases of Battlestar Galactica: Razor, and some are inserted into both the broadcast and extended cuts of the movie on DVD and Blu-Ray. The installments that did not make the final cut include 1, 2, and the latter half of 7.

text: In May 2008, a set of 10 webisodes were announced to be in the works which were released during the seven-month hiatus between episodes 10 and 11 of Season 4.[17] Titled The Face of the Enemy, the web series premiered on December 12, 2008 on SciFi.com. Again, viewing of the webisodes was optional prior to the second half of Season 4.

text: The Plan[edit]

text: In August 2008, the Sci Fi Channel announced the production of a two-hour TV movie which was planned to air after the final episode of the series in 2009. The movie began production on September 8, 2008.[18] The movie premiered exclusively on DVD, Blu-ray and digital download on October 27, 2009 and aired on January 10, 2010, on Sci Fi. Written by Jane Espenson and directed by Edward James Olmos, The Plan storyline begins before the attack on the 12 colonies and shows events primarily from the perspective of the Cylons.[19] Edward James Olmos reprised his role as Adama, and ten of the eleven actors who played Cylons appeared, including Michael Trucco, Aaron Douglas, Dean Stockwell, Tricia Helfer, Grace Park, Rick Worthy, Matthew Bennett, Callum Keith Rennie, Michael Hogan and Rekha Sharma.[18] The only "Cylon" actor not present was Lucy Lawless (although previously filmed footage of her was included).[20]

text: Caprica[edit]

text: Caprica is a prequel television series to the re-imagined Battlestar Galactica. It premiered on Syfy (formerly Sci-Fi) on January 22, 2010, and was described as "television's first science fiction family saga". It was a two-hour back door pilot for a possible weekly television series, but on December 2, 2008, Syfy gave the go-ahead to expand the project into a full, 20-episode series. Caprica is set on the titular planet, 58 years before the events of Battlestar Galactica. The show revolves around two families, the Adamas and the Graystones, and the creation of the Cylons.

text: The pilot was directed by Jeffrey Reiner and starred Eric Stoltz, Esai Morales, Paula Malcomson, Alessandra Torresani, and Polly Walker.[21] The pilot was released on DVD on April 21, 2009[22] and the series was broadcast in January 2010.

text: On October 27, 2010, Syfy canceled Caprica due to low ratings. The final five episodes were aired in the US on January 4, 2011[23] though they had aired a couple of months earlier on the Canadian network Space. The entire series was released on DVD in 2011.

text: Blood & Chrome[edit]

text: Battlestar Galactica: Blood & Chrome was to be a spin-off series from the re-imagined Battlestar Galactica series.[24] Syfy approached show runner Ronald D. Moore to produce another spin-off set in the reimagined Battlestar Galactica universe, which was to begin as a two-hour pilot focused on William "Husker" Adama (portrayed by Luke Pasqualino) during the First Cylon War (as was glimpsed in Razor and the corresponding webisodes).

text: Syfy decided against moving forward with the Blood and Chrome TV series, but on November 5, 2012 it was announced that a 10-part webseries would begin on November 9, 2012 and be released over four weeks via Machinima.com. The webseries was also aired as a 2-hour movie on Syfy on February 10, 2013,[25] and was released on DVD shortly afterwards.[26]

text: Feature film[edit]

text: Creator Glen A. Larson entered negotiations with Universal Pictures for a film adaptation of the 1978 series in February 2009.[27] Bryan Singer signed on to direct the reboot the following August, but was obligated to direct Jack the Giant Slayer.[28] In October 2011 John Orloff was hired to write the script. "I have wanted to write this movie since I was 12 years old, and built a Galactica model from scratch out of balsa wood, cardboard, old model parts and LEDs," Orloff told Deadline Hollywood[29] By August 2012 the script was being rewritten, with Singer explaining that "It will exist, I think, quite well between the Glen Larson and Ron Moore universes".[30] On April 7, 2014, the studio hired Jack Paglen to write the script for the film.[31] On February 12, 2016, Universal signed Michael De Luca, Scott Stuber and Dylan Clark to produce the Battlestar Galactica film.[32] On June 9, 2016, Lisa Joy was reportedly writing the film, and Francis Lawrence was in talks to direct.[33]

text: Comic books[edit]

text: A series of comic book publishers have adapted Battlestar Galactica since its inception.

text: Marvel Comics published a 23-issue comic book series based upon the show between 1978 and 1981. Walt Simonson, who later wrote and drew Thor and had a long stint on Marvel's Star Wars comic, was the artist for the series at its conclusion. Other comics have since been published by Maximum Press, Grandreams, Look-in magazine, Realm Press, and Dynamite Comics. Of all these series, only those by Marvel, Grandreams, and Look-In completed their storylines and brought the story to a conclusion. All the other series were cancelled at various points during their run, with no resolutions.[citation needed]

text: The Grandreams and Look-In comic strips take place early in the series. The other comic series based on the 1978 series have been set after the final episode of the series and ignored Galactica 1980.[citation needed]

text: The Maximum Press series began with the discovery of a completely unpopulated Earth some fifteen years after the TV show. The look and the feel of the comics was changed considerably from the series, to give the stories a "more nineties" feel.[citation needed]

text: The Realm Press series picked up immediately after the original series' final episode, in an attempt to present what they called "Season Two" of the original show.[citation needed]

text: Dynamite Entertainment was the last company to publish comic books featuring both the classic and reimagined Battlestar Galactica series. They also released a 4-issue Galactica 1980 comic miniseries written by Marc Guggenheim. The limited miniseries was a re-imagining of the original series but at the end featured a second, smaller Battlestar (replacing the original which was destroyed) also named Galactica but strongly resembling the ship seen in the reimagined Sci-Fi Channel series.[citation needed]

text: Books[edit]

text: Both the original and the reimagined series have had books published about the series, academically oriented analysis, novelizations, and new works based on the characters.

text: Original series books[edit]

text: These Battlestar Galactica softcover novelisations were written by Glen A. Larson with the authors listed below.[34] They were critically disparaged, but proved popular, with the first novel selling over a million copies within its first year.[35] The first ten novels adapt the episode of the same title except as indicated. All novels except Battlestar Galactica 14: Surrender the Galactica! (ACE publishing) were originally published by Berkley, and have been republished, recently, by I Books, which called them Battlestar Galactica Classic to differentiate it from the reimagined series. The episodic novels featured expanded scenes, excerpts from "The Adama Journals," more background on the characters, and the expansion of the ragtag fleet to almost 22,000 ships as opposed to the 220 in the TV series. A new book series written by series star Richard Hatch starting in the 1990s continued the original story based on his attempt to revive the series, and ignored the events of Galactica 1980. His series picked up several years after the TV series ended, and featured Apollo in command of the Galactica after the death of Adama, a grown-up Boxey, who was now a Viper pilot, and the rediscovery of Commander Cain and the battlestar Pegasus, who had started a new colony and was preparing to restart the war with the Cylons.

text: Episodic novels

text:
Battlestar Galactica, with Robert Thurston (novel version of "Saga of a Star-World")
Battlestar Galactica 2: The Cylon Death Machine, with Robert Thurston (novel version of "The Gun on Ice Planet Zero")
Battlestar Galactica 3: The Tombs of Kobol, with Robert Thurston (novel version of "Lost Planet of the Gods")
Battlestar Galactica 4: The Young Warriors, with Robert Thurston (adapts "The Young Lords")
Battlestar Galactica 5: Galactica Discovers Earth, with Michael Resnick (adapts the Galactica 1980 three part episode)
Battlestar Galactica 6: The Living Legend, with Nicholas Yermakov
Battlestar Galactica 7: War of the Gods, with Nicholas Yermakov
Battlestar Galactica 8: Greetings from Earth, with Ron Goulart
Battlestar Galactica 9: Experiment in Terra, with Ron Goulart (adapts the titular episode as well as "Baltar's Escape")
Battlestar Galactica 10: The Long Patrol, with Ron Goulart

tag: ul

text: Original novels

text:
Battlestar Galactica 11: The Nightmare Machine, with Robert Thurston
Battlestar Galactica 12: "Die, Chameleon!", with Robert Thurston
Battlestar Galactica 13: Apollo's War, with Robert Thurston
Battlestar Galactica 14: Surrender the Galactica!, with Robert Thurston

text: Original novels by Richard Hatch

text:
Battlestar Galactica: Armageddon, with Christopher Golden
Battlestar Galactica: Warhawk, with Christopher Golden
Battlestar Galactica: Resurrection, with Stan Timmons
Battlestar Galactica: Rebellion, with Alan Rogers
Battlestar Galactica: Paradis, with Brad Linaweaver
Battlestar Galactica: Destiny, with Brad Linaweaver
Battlestar Galactica: Redemption, with Brad Linaweaver

text: Reimagined series books[edit]

text: Tor Science Fiction has published the following works in both hardcover and paperback format.

text:
Battlestar Galactica by Jeffrey A. Carver
The Cylons' Secret by Craig Shaw Gardner
Sagittarius Is Bleeding by Peter David
Unity by Steven Harper

text: Academic analysis[edit]

text:
Cylons in America: Critical Studies in Battlestar Galactica[36]
So Say We All: An Unauthorized Collection of Thoughts and Opinions on Battlestar Galactica, edited by Richard Hatch
Battlestar Galactica and International Relations[37] by Nicholas J. Kiersey and Iver B. Neumann (editors)
An Analytical Guide to Television's Battlestar Galactica[38] by John Kenneth Muir

text: Games[edit]

text: The original series inspired a Battlestar Galactica board game. The game is set during a training mission, where two to four players maneuver pieces representing Colonial Vipers to capture a damaged Cylon Raider. Play includes using terrain elements and a number of special-ability cards to the players' advantage.[citation needed]

text: In 1978, Mattel Electronics released a handheld electronic LED game based on the series. The player tries to defend Galactica from kamikaze Cylon Raiders by manipulating a switch on the game unit to direct their fire, triggered by a red button to the left of the unit.[39]

text: In 1979, FASA released a tabletop counter piece game for Battlestar Galactica based on the fighter combat, which included the Galactica and a Cylon Basestar to be launched from, attack with and be attacked/defended. The counters for the Vipers and the Raiders included three model versions MKI/MKII/MKIII, not just the MKII Viper and Raider MKI.[40]

text: In November 2003, shortly before the premiere of the re-imagined TV series, Sierra released a 3D space combat Battlestar Galactica computer game for the original Xbox, PlayStation 2, and PC. The game took place 40 years before the original series and featured an ensign Adama flying a Viper during the Cylon war. The game was developed by Warthog.[citation needed]

text: Wiz Kids, Inc. (a collectible game manufacturer) produced the Battlestar Galactica Collectable Card Game based on the 2003 mini-series and 2004 TV show. The premier set of this game was released in May 2006. After the release of one expansion set, Wizkids announced the game's cancellation on March 13, 2007.[41]

text: A Battlestar Galactica role-playing game was released in August 2007 by Margaret Weis Productions at Gen Con.[42]

text: Fantasy Flight Games produced Battlestar Galactica: The Board Game, based on the 2003 re-imagined series. It is a semi-cooperative game of strategy for 3–6 players with some players being Cylon agents, either aware at start of the game or become aware later, as Sleeper agents. Each of the 10 playable character has its own abilities and weaknesses, and they must all work together in order for humanity to survive, as well as attempt to expose the traitor while fuel shortages, food contaminations, and political unrest threaten to tear the fleet apart.[43] In June 2009, a "Pegasus expansion" to the board game was announced, adding seven new characters and extra gameboards representing Battlestar Pegasus and New Caprica.[44] A further expansion, Exodus was released in December 2010 [45] and Daybreak, the final expansion, was released in Summer of 2013.

text: There is also a 2D Xbox 360 Live Arcade title called Battlestar Galactica wherein players can co-op or dogfight with up to 8 people over Xbox Live.[46]

text: Battlestar Galactica Online is a 3D browser-based MMOG released as an open beta on February 8, 2011 by Bigpoint Games.[47]

text: § Battlestar Galactica Deadlock (2017) is a 3D turn based strategy game (released on PC, Xbox One and PS4) featuring the First Cylon War. The game is developed by Black Lab Games and published by the Slitherine Software.


document_title: The Cask of Amontillado

question_text: what is the amontillado in the cask of amontillado

text: The Cask of Amontillado

text: Plot summary[edit]

text: The story's narrator, Montresor, tells an unspecified person, who knows him very well, of the day he took his revenge on Fortunato (Italian for "the fortunate one"), a fellow nobleman. Angry over numerous injuries and some unspecified insult, Montresor plots to murder his "friend" during Carnival, while the man is drunk, dizzy, and wearing a jester's motley.

text: Montresor lures Fortunato into a private wine-tasting excursion by telling him he has obtained a pipe (about 130 gallons,[1] 492 litres) of what he believes to be a rare vintage of Amontillado. He proposes obtaining confirmation of the pipe's contents by inviting a fellow wine aficionado, Luchesi, for a private tasting. Montresor knows Fortunato will not be able to resist demonstrating his discerning palate for wine and will insist that he taste the amontillado rather than Luchesi who, as he claims, "cannot tell Amontillado from Sherry". Fortunato goes with Montresor to the wine cellars of the latter's palazzo, where they wander in the catacombs. Montresor offers wine (first Medoc, then De Grave) to Fortunato in order to keep him inebriated. Montresor warns Fortunato, who has a bad cough, of the dampness, and suggests they go back, but Fortunato insists on continuing, claiming that "[he] shall not die of a cough". During their walk, Montresor mentions his family coat of arms: a golden foot in a blue background crushing a snake whose fangs are embedded in the foot's heel, with the motto Nemo me impune lacessit ("No one attacks me with impunity").

text: At one point, Fortunato makes an elaborate, grotesque gesture with an upraised wine bottle. When Montresor appears not to recognize the gesture, Fortunato asks, "You are not of the masons?" Montresor says he is, and when Fortunato, disbelieving, requests a sign, Montresor displays a trowel he had been hiding. When they come to a niche, Montresor tells his victim that the Amontillado is within. Fortunato enters drunk and unsuspecting and therefore, does not resist as Montresor quickly chains him to the wall. Montresor then declares that, since Fortunato won't go back, Montresor must "positively leave" him there.

text: Montresor reveals brick and mortar, previously hidden among the bones nearby, and proceeds to wall up the niche using his trowel, entombing his friend alive. At first, Fortunato, who sobers up faster than Montresor anticipated, shakes the chains, trying to escape. Fortunato then screams for help, but Montresor mocks his cries, knowing nobody can hear them. Fortunato laughs weakly and tries to pretend that he is the subject of a joke and that people will be waiting for him (including the Lady Fortunato). As Montresor finishes the topmost row of stones, Fortunato wails, "For the love of God, Montresor!" to which Montresor replies, "Yes, for the love of God!" He listens for a reply but hears only the jester's bells ringing. Before placing the last stone, he drops a burning torch through the gap. He claims that he feels sick at heart, but dismisses this reaction as an effect of the dampness of the catacombs.

text: In the last few sentences, Montresor reveals that 50 years later, Fortunato's body still hangs from its chains in the niche where he left it. The murderer concludes: In pace requiescat! ("May he rest in peace!").

text: Publication history[edit]

text: "The Cask of Amontillado" was first published in the November 1846 issue of Godey's Lady's Book,[2] which was, at the time, the most popular periodical in America.[3] The story was only published one additional time during Poe's life.[4]

text: Analysis[edit]

text: Although the subject matter of Poe's story is a murder, "The Cask of Amontillado" is not a tale of detection like "The Murders in the Rue Morgue" or "The Purloined Letter"; there is no investigation of Montresor's crime and the criminal himself explains how he committed the murder. The mystery in "The Cask of Amontillado" is in Montresor's motive for murder. Without a detective in the story, it is up to the reader to solve the mystery.[5]

text: Montresor never specifies his motive beyond the vague "thousand injuries" and "when he ventured upon insult" to which he refers. Some context is provided, including Montresor's observation that his family once was great (but no longer so), and Fortunato's belittling remarks about Montresor's exclusion from Freemasonry. Many commentators conclude that, lacking significant reason, Montresor must be insane, though even this is questionable because of the intricate details of the plot.[5]

text: There is also evidence that Montresor is almost as clueless about his motive for revenge as his victim.[6] In his recounting of the murder, Montresor notes, "A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong". After Fortunato is chained to the wall and nearly entombed alive, Montresor merely mocks and mimics him, rather than disclosing to Fortunato the reasons behind his exacting revenge. Montresor may not have been entirely certain of the exact nature of the insults for which he expected Fortunato to atone.[6]

text: Additional scrutiny into the vague injuries and insults may have to do with a simple matter of Montresor's pride and not any specific words from Fortunato.[7] Montresor comes from an established family. His house had once been noble and respected, but has fallen slightly in status. Fortunato, as his name would seem to indicate, has been blessed with good fortune and wealth and is, therefore, viewed as unrefined by Montresor; however, this lack of refinement has not stopped Fortunato from surpassing Montresor in society, which could very well be the "insult" motive for Montresor's revenge.[7]

text: There is indication that Montresor blames his unhappiness and loss of respect and dignity within society on Fortunato.[8] It is easy to ascertain that Fortunato is a Freemason, while Montresor is not, which could be the source of Fortunato's recent ascension into upper class society. Montresor even imparts this blame to Fortunato when he states, "You are rich, respected, admired, beloved; you are happy, as once I was". This interchanging of fortunes is a suggestion that, since the names Montresor and Fortunato mirror one another, there is a psychological reciprocal identification between victim and executioner.[8] This identification reciprocity is further suggested when one takes into consideration that Montresor entombs Fortunato in the Montresor family catacombs rather than dispatching him elsewhere in the city amidst the chaos of the Carnival. It is with this converging of the two characters that one is able to see the larger symbolism of the Montresor crest – the foot steps on the serpent while the serpent forever has his fangs embedded in the heel.[8]

text: Upon further investigation into the true nature of character, double meaning can be derived from the Montresor crest.[6] It is the position of Montresor to view himself as the owner of the righteous foot that is crushing the insolent Fortunato serpent and his "thousand injuries" that progress into insult. A more allegoric meaning of Poe's places the actors in reverse.[6] The blind oaf Fortunato has unintentionally stepped upon the snake in the grass – the sneaky and cunning Montresor – who, as a reward for this accidental bruising, sinks his fangs deep into the heel of his offender, forever linking them in a form of mutual existence.[6]

text: Though Fortunato is presented as a connoisseur of fine wine, L. Moffitt Cecil of Texas Christian University argues that his actions in the story make that assumption questionable. For example, Fortunato comments on another nobleman being unable to distinguish amontillado from sherry when amontillado is in fact a type of sherry, and treats De Grave, an expensive French wine, with very little regard by drinking it in a single gulp. Cecil also states that a true wine connoisseur would never sample wine while intoxicated and describes Fortunato as merely an alcoholic. Cecil also suggests that some people might feel Fortunato deserved to be buried alive for wasting a bottle of fine wine.[1]

text: Poe may have known bricklaying through personal experience. Many periods in Poe's life lack significant biographical details, including what he did after leaving the Southern Literary Messenger in 1837.[9] Poe biographer John H. Ingram wrote to Sarah Helen Whitman that someone named "Allen" said that Poe worked "in the brickyard 'late in the fall of 1834'". This source has been identified as Robert T. P. Allen, a fellow West Point student during Poe's time there.[10]

text: Immurement, a form of imprisonment, usually for life, in which a person is placed within an enclosed space with no exit, is featured in other works by Poe, including "The Fall of the House of Usher", "The Premature Burial", "The Black Cat", and "Berenice".

text: Inspiration[edit]

text: An apocryphal legend holds that the inspiration for "The Cask of Amontillado" came from a story Poe had heard at Castle Island (South Boston), Massachusetts, when he was a private stationed at Fort Independence in 1827.[11] According to this legend, while stationed at Castle Island in 1827 he saw a monument to Lieutenant Robert Massie. Massie had been killed in a sword duel on Christmas Day 1817 by Lieutenant Gustavus Drane, following a dispute during a card game.[12] According to the legend, other soldiers then took revenge on Drane by getting him drunk, luring him into the dungeon, chaining him to a wall, and sealing him in a vault.[13] This version of Drane's demise is false; Drane was courtmartialled for the killing and acquitted,[12] and lived until 1846.[14] A report of a skeleton discovered on the island may be a confused remembering of Poe's major source, Joel Headley's "A Man Built in a Wall"[15], which recounts the author's seeing an immured skeleton in the wall of a church in Italy.[16] Headley's story includes details very similar to "The Cask of Amontillado"; in addition to walling an enemy into a hidden niche, the story details the careful placement of the bricks, the motive of revenge, and the victim's agonized moaning. Poe may have also seen similar themes in Honoré de Balzac's "La Grande Bretèche" (Democratic Review, November 1843) or his friend George Lippard's The Quaker City, or The Monks of Monk Hall (1845).[17] Poe may have borrowed Montresor's family motto Nemo me impune lacessit from James Fenimore Cooper, who used the line in The Last of the Mohicans (1826).[18]

text: Poe wrote his tale, however, as a response to his personal rival Thomas Dunn English. Poe and English had several confrontations, usually revolving around literary caricatures of one another. Poe thought that one of English's writings went a bit too far, and successfully sued the other man's editors at The New York Mirror for libel in 1846.[19] That year English published a revenge-based novel called 1844, or, The Power of the S.F. Its plot was convoluted and difficult to follow, but made references to secret societies and ultimately had a main theme of revenge. It included a character named Marmaduke Hammerhead, the famous author of "The Black Crow", who uses phrases like "Nevermore" and "lost Lenore", referring to Poe's poem "The Raven". This parody of Poe was depicted as a drunkard, liar, and an abusive lover.

text: Poe responded with "The Cask of Amontillado", using very specific references to English's novel. In Poe's story, for example, Fortunato makes reference to the secret society of Masons, similar to the secret society in 1844, and even makes a gesture similar to one portrayed in 1844 (it was a signal of distress). English had also used an image of a token with a hawk grasping a snake in its claws, similar to Montresor's coat of arms bearing a foot stomping on a snake – though in this image, the snake is biting the heel. In fact, much of the scene of "The Cask of Amontillado" comes from a scene in 1844 that takes place in a subterranean vault. In the end, then, it is Poe who "punishes with impunity" by not taking credit for his own literary revenge and by crafting a concise tale (as opposed to a novel) with a singular effect, as he had suggested in his essay "The Philosophy of Composition".[20]

text: Poe may have also been inspired, at least in part, by the Washingtonian movement, a fellowship that promoted temperance. The group was made up of reformed drinkers who tried to scare people into abstaining from alcohol. Poe may have made a promise to join the movement in 1843 after a bout of drinking with the hopes of gaining a political appointment. "The Cask of Amontillado" then may be a "dark temperance tale", meant to shock people into realizing the dangers of drinking.[21]

text: Poe scholar Richard P. Benton has stated his belief that "Poe's protagonist is an Englished version of the French Montrésor" and has argued forcefully that Poe's model for Montresor "was Claude de Bourdeille, comte de Montrésor (Count of Montrésor), the 17th-century political conspirator in the entourage of King Louis XIII's weak-willed brother, Gaston d'Orléans".[22] The "noted intriguer and memoir-writer" was first linked to "The Cask of Amontillado" by Poe scholar Burton R. Pollin.[22][23]

text: Further inspiration for the method of Fortunato's murder comes from the fear of live burial. During the time period of this short story some coffins were given methods of alerting the outside in the event of live entombment. Items such as bells tied to the limbs of a corpse to signal the outside were not uncommon. This theme is evident in Fortunato's costume of a jester with bells upon his hat, and his situation of live entombment within the catacombs.[8]

text: Adaptations[edit]

text:
"The Cask of Amontillado" was made into a British film in 1998, directed by Mario Cavalli, screenplay by Richard Deakin and starring Anton Blake as Montresor and Patrick Monckton as Fortunato.[24]
The fourth episode in season 9 American Masters titled Edgar Allan Poe: Terror of the Soul adapts the story.[25]
Edgar Allan Poe's The Cask of Amontillado (2011) stars David JM Bielewicz and Frank Tirio, Jr. It was directed by Thad Ciechanowski, produced by Joe Serkoch, by production company DijitMedia, LLC/Orionvega. It was a winner of 2013 regional Emmy Award.[26]
Roger Corman's 1962 anthology film Tales of Terror combines the story with another Poe story, The Black Cat[27] This loosely adapted version is decidedly comic in tone, and stars Peter Lorre as Montresor (given the name Montresor Herringbone) and Vincent Price as Fortunato Luchresi. The amalgamation of the two stories provides a motive for the murderer: Fortunato has an affair with Montresor's wife.
Vincent Price filmed a solo recitation of the story for a segment of the 1970 Anthology film An Evening of Edgar Allan Poe. The production features Montresor recounting the story to an unseen guest in a vast, empty dining room.
This story is told in Christopher Moore's book The Serpent of Venice (2014) from the perspective of the main character, Pocket, a jester. In this version, Pocket is saved by a mermaid.
In 1951, EC (Entertaining Comics) published a comic adaptation in Crime Suspenstories #3, under the name "Blood Red Wine". The adaptation was written by Albert B. Feldstein, with art by Graham Ingels, and a cover by Johnny Craig. The ending was changed from Poe's original to show the murderer get his come-comeuppance only moments after the crime. It was reprinted in 1993 by Russ Cochran.
In 1951, Gilberton's Classics Illustrated #84 featured a faithful adaptation, with art by Jim Lavery. It has been reprinted multiple times over the years.
In 1960, Editora Continental (Brazil) published an adaptation in Classicos De Terror #1 by Gedeone Malagola.
In 1963, Dell Comics adapted the version from Roger Corman's Tales Of Terror with art by Fran Matera.
In 1965, Warren Publishing included an adaptation in Creepy #6. It was written by Archie Goodwin, with art by Reed Crandall. The ending borrows from the 1951 EC version, except for the murderer getting what was coming to him 50 years later. This version has been reprinted many times over the years.
In 1967, Editora Taika (Brazil) issued an adaptation in Album Classicos De Terror #4. It was adapted by Francisco De Assis, with art by Osvaldo Talo. This borrows Archie Goodwin's revised ending verbatim.
In 1970, O Livreiro Editora (Brazil) published an adaptation in Terror Ilustrado #1 by Edmundo Rodrigues.
"The Merciful", a 1971 episode of Night Gallery, features the story with a twist: an old couple in a basement, with the wife (Imogene Coca) building the wall and quoting from the Poe story, while the husband (King Donovan) sits passively in a rocking chair. Once she has finished, he gets up from the chair and walks up the stairs. The wife has sealed herself in.
In 1974, Skywald did an adaptation in Scream #5. Adaptation by Al Hewetson, art by "Maro Nava" (a possible psudonym for Jerry Grandenetti). In 1989, this was reprinted by Eternity Comics in Murders In The Rue Morgue #1.
In 1975, Warren did an adaptation in Creepy #70. Adaptation by Rich Margopoulos, art by Martin Salvador. This has been reprinted multiple times over the years.
In 1976, The Alan Parsons Project released an album titled Tales of Mystery and Imagination with one of the tracks called "The Cast of Amontillado".
In 1977, Marvel Comics did an adaptation in Marvel Classics Comics #28. Adaptation & layouts by Don McGregor, art by Michael Golden, making his professional comics debut. This has been reprinted twice by Editora Bloch (Brazil).
In 1977, Pendulum Press did an adaptation in The Best Of Poe (part of their Now Age Books / Pendulum Illustrated Classics / Now Age Illustrated series). Adaptation by Naunerle Farr, art by Noly Zamora. This has been reprinted multiple times since, most recently by Saddleback Illustrated Classics in 2006.
In 1979, Moby Books did an illustrated story adaptation in Tales Of Mystery And Terror (part of their Great Illustrated Classics series). Adaptation by Marjorie P. Katz, art by Pablo Marcos.
In 1980, Organizacion Editorial Novaro (Mexico) did an illustrated story adaptation in Cuentos De Edgar Allan Poe (part of their Clasicos Ilustrados series). Adaptation by Hector D. Shelley, art by Guido Del Carpio Rivera.
In 1982, Troll Associates did an illustrated children's book. Adaptation by David E. Cutts, art by Ann Toulmin-Rothe.
In 1989, Globe Communications Corp did an adaptation in Monsters Attack #2. Adaptation by Charles E. Hall, art by Walter James Brogan.
In 1995, Mojo Press did an adaptation in The Tell-Tale Heart: Stories And Poems by Edgar Allan Poe. Art by Bill D. Fountain.
In 1997, Cottage Classics did an illustrated version in Maxon's Poe: Seven Stories And Poems by Edgar Allan Poe. Art by Maxon Poe.
In 1999, Albin Michel – L'Echo des Savanes (France) did a comics version, "El Tonel De Amontillado" in Le Chat Noir. Adaptation & art by Horacio Lalia.
In 2001, Eureka Productions featured an adaptation in Graphic Classics #1. Art by Pedro Lopez.
In 2003, Lou Reed included an adaptation on the extended edition of his Poe-themed album The Raven, titled "The Cask" and performed by Willem Dafoe (as Montresor) and Steve Buscemi (as Fortunato).
In 2009, Edelvives Zaragoza (Spain) did a comics version, "El Barril De Amontillado" in Tres Cuentos De Poe. Adaptation & art by Xavier Besse.
In 2014, Dark Horse Comics did an adaptation in The Premature Burial. Adaptation & art by Richard Corben.
In 2014, Ediciones De La Flor (Argentina) did an adaptation in Lo Mejor De Poe ("The Best of Poe"). Adaptation & art by Edu Molina.
in 2014, Keith Carradine starred in Terroir, a feature length film adaptation by John Charles Jopson.
In spring 2017, Udon Entertainment's Manga Classics line will publish The Stories of Edgar Allan Poe, which will include a manga format adaptation of "The Cask of Amontillado".[28]